Artist Andrew Schoultz puts the final touches on a painting titled Falling, Sky. Schoultz will have his first solo exhibit at Marx and Zavattero Gallery at 77 Geary Street, starting this week. Photographed in San Francisco.

Photo: Lance Iversen, The Chronicle

Artist Andrew Schoultz puts the final touches on a painting titled...

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A work of art by Andrew Schoultz titled "Remembering President George." This is a part of his solor show opening on September 4, 2008 at Marx & Zavattero gallery in San Francisco.

A work of art by Andrew Schoultz titled "Remembering President...

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Young, up and coming artist Andrew Schoultz poses with one of his new untitled works that will be part of his first solo exhibit at Marx and Zavattero Gallery at 77 Geary Street, starting this week. Photographed in San Francisco.

Bay Area artist Andrew Schoultz's solo exhibition "In Gods We Trust" opens Thursday at the Marx & Zavattero Gallery in Union Square. This will be Schoultz's first local exhibition in more than four years. Schoultz, 33, primarily known for his intricately detailed politically and environmentally themed murals and works of a similar nature on canvas, panel and paper, says the show will be a walkthrough experience, where viewers will be placed inside the work as participants. Schoultz has exhibited in galleries across the country, as well as in the Netherlands and Germany. The book "Ulysses: Departures, Journeys, & Returns: The Artwork of Andrew Schoultz" is available through Paper Museum Press. Schoultz recently spoke about his art at his Mission District studio.

Q:What's the theme behind "In Gods We Trust"?

A: To keep it very basic, "In Gods We Trust" is a direct reference to the phrase that appears on all American currency. The plural use of the word "God" is a respectful nod to the religious and cultural diverse society that we live in today. It also refers to the globalized economy we live in and acknowledges that not all economic systems are run under the same religious and cultural belief systems as our own.

When addressing the idea of globalization, it's easy to see why the merging of all the world's economic systems is happening, but it's also very important to take into consideration the cultural and religious communities that each of these individual economic systems exist in and their different moral and ethical standards. I feel there's a lot of gray area in the American concept of church and state being kept separate. I believe that religion does play a role and have very profound effects on the decisions of our political leaders here in the U.S., and I would expect that the religions of other world leaders affect them in the same way. There's no one way that's right.

Q:And what does the show consist of?

A: This show will consist of a large-scale installation that will include large sculptures, paintings and drawings. The centerpiece will be a large version of the scales of justice, with one side of the scale being weighed down by another scale and the other side will be ripping apart a bridge. The show will be a walkthrough experience, where viewers will be placed inside the work as participants rather than simply just viewers.

Q:When did you first realize you were an artist?

A: I first became interested in drawing when I was about 4 years old. I would watch my dad doodle and copy off him. Soon after, I got into comic books and tried copying the art inside of them. I've been into art ever since.

Q:Who are some of your earliest influences?

A: My dad could draw very well, and I always wanted to be able to do that, and my mom was supportive and encouraging of anything I wanted to do. My brother and I always had art supplies growing up. Comic books and graffiti art were also early influences. When I saw the movie "Beat Street" in the '80s, I fell in love with graffiti and break dancing. The graffiti stayed with me much longer than the dancing. I loved the rawness and the large scale of graffiti and the fact that it was in the public space for all to see. At that time, it didn't go beyond drawing it on the cardboard that my brother and I break-danced on.

Q:What prompted the move from Milwaukee to San Francisco in 1997?

A: I moved here for school and skateboarding. But in reality, it was also an attempt to get out of the Midwest and try to make a life for myself in a more community-orientated, arts-friendly city. Ever since I was a teenager, I felt a strange connection with San Francisco. It always seemed like such a magical place to me.

Q:Many artists describe your work ethic as "insane." How much time would you say you spend in the studio on average per week?

A: I would say on average I work about eight hours a day. In the last two years, I've learned the value of working constantly and consistently, but not overworking myself. Being overworked and tired is no good for your work.

Q:What inspires you to create art?

A: In some ways, I strive to create art that is infinite and ends only when you want it to. Most of my work is also very intricate and obsessive-compulsive, consisting of many layers of details. I get excited when I figure out new ways to use these layers to create depth and perspective. Also, I don't know if I'd use the word inspired, but I find myself very driven by chaos. It seems like that's where the world's at in this day and age. As technology rapidly advances, so does the capacity for chaos and destruction.